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Printing Industry Exchange ( is pleased to have Steven Waxman writing and managing the Printing Industry Blog. As a printing consultant, Steven teaches corporations how to save money buying printing, brokers printing services, and teaches prepress techniques. Steven has been in the printing industry for thirty-three years working as a writer, editor, print buyer, photographer, graphic designer, art director, and production manager.

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Archive for April, 2019

Book Printing: Prices for Short Runs of Long Books

Monday, April 29th, 2019

A print brokering client of mine is a husband and wife publishing team. Usually they print one or two new titles a year, mostly books of poetry, fiction, and essays. I’ve written about them in these PIE Blog articles before. They both appreciate the finer points of a physical print book, so all of their projects include French flaps (extensions on the front and back covers that are folded inward toward the inside front and back covers). They also have soft-touch laminated covers (a coating that gives a nice rubberized feel to the matte cover), a press score running parallel to the spine, and faux deckled edges on the text block (actually a “rough front” trim).

This client team appreciates quality.

Another way they show this commitment to quality is to initially print 50 or 75 copies of a “galley” proof of each print book (prior to the final run with the French flaps and such). The galleys go to “readers,” who review the books and make suggestions, which can then be incorporated into the final print books.

The Pricing (and Then the Revised Pricing) for the Print Books

Just recently, I requested pricing for 75 copies of each book and provided this to my clients as a benchmark prior to the actual design and layout of the books. Keep in mind that these are 5.5” x 8.5” format, perfect bound books: relatively standard, with standard 70# offset text paper inside and 12pt. covers. The text blocks are black ink only without bleeds. The covers are 4-color process with bleeds.

After I provided my clients with their pricing for the three galley books, their book designers (a different designer for the text and the covers) produced the book art files. In all three cases, the page counts increased significantly (upwards of 100 pages in one instance), and the press runs dropped from 75 readers’ copies to 50 readers’ copies.

I collected this new information, revised the specification sheets, and went back to the book printer’s sales rep for revised estimates. When the prices arrived, the sales rep and I were both surprised by how much the prices had jumped. In fact, the unit costs were almost double those of the first estimate.

Why Did the Prices Go Up So Much?

After the initial shock, this is what I did. I took one of the three book estimates and analyzed the pricing. I multiplied the initial press run (75 copies) by the number of pages (256 pages) and came up with 19,200 pages total. Then I multiplied the revised press run (50 copies) by the the revised page count (382 pages) and came up with almost the same number of pages (19,100 total book pages printed).

This was a bit of a happy accident, because it showed that even though the book was much longer, the total amount of digital press work needed would be about the same. Almost exactly, actually.

Then I compared the initial price ($462.00) to the revised price ($727.00), and determined that the first estimate for 75 copies would cost $.024 per page while the revised price based on the lower press run and higher page count would be $.038 per page.

At this point I asked the sales rep to have his estimating department explain the discrepancy (to his credit, the sales rep had initially called me and offered to do this). We agreed that we wanted to know whether the pricing was accurate (or a mistake). And, if it was accurate, why was it so much more than the initial bid? All of this would occur before I went back to my client with the revised pricing.

Possible Answers

Here are some possible reasons that the increased cost per page might not be either an accident or an unreasonable charge:

  1. Due to the short press run, these three books will be printed digitally, as opposed to by offset lithography. This is true even though the text block of the example discussed above (one of three books) is almost 400 pages. In spite of this book length, the press run is only 50 copies for initial reader review.
  2. Offset commercial printing requires a huge amount of make-ready: that is, preparatory work to get the printing, binding, and any other operations in print book manufacturing ready. For each process, the make-ready precedes the actual run. It contributes to the overall cost, but since offset printing runs are usually very long (perhaps 5,000 or 10,000 copies or more rather than 50 copies), this larger amount of money attributable to make-ready can be spread across the 5,000; 10,000; or even 100,000 copies of the press run. In fact, the longer the run, the less each copy costs, and the less impact the make-ready charges have on the cost of each print book.
  3. In contrast to offset printing, digital printing has relatively little make-ready. But it still has some. The prepress operators and pressmen still have to set up each individual step in the process: everything from producing the digital proofs (if they are printed on an inkjet or laser device) to printing the actual run of pages to all binding, trimming, and packing operations.
  4. This make-ready expense is increased if multiple finishing operations are necessary (anything that follows putting ink or toner on paper). In addition, there is the spoilage that occurs during these extra steps. For instance, after the pages have been printed, the books need to be perfect bound. And to complete all manufacturing processes with a total run of exactly 50 books, more text blocks and covers must be produced to allow for spoilage (in this case, books damaged during the perfect binding process). The same potential for spoilage exists during all printing and finishing operations, and addressing this inevitability (by initially starting with enough copies to accommodate the loss) drives up the overall print book manufacturing cost.
  5. In my client’s case, the page count for each of the three print book titles went up, but the press runs dropped from 75 copies to 50 copies. What this means is that the cost of make-ready (time spent setting up all pre-press, press, and post press operations) and spoilage (books damaged during production) is above and beyond the cost of the actual 50-copy press run (referred to as “make-ready” vs. “press run” on some estimates).
  6. In my client’s case, this cost of preparation or make-ready will now be spread over 50 books, whereas this cost initially (on the first book production estimate) was to be spread over 75 books. When you compare this process to a 10,000 copy press run (or more) of an offset printed book, you can see that a much greater portion of the make-ready cost gets allocated to the unit cost of each of the 50 copies (produced digitally) vs. each of the 5,000; 10,000; or 100,000 offset-printed copies.
  7. This is a hypothesis (albeit a legitimate, potential reason for the increased cost). Plus, the books will be significantly longer than initially expected.
  8. That said, the only way to know for sure is to have all three revised estimates re-checked, which is what the print sales rep has offered to do.

What You Can Learn from This Case Study

  1. The initial human response to something like this is disbelief and possibly anger. But that’s not productive, so if this happens to you, just ask for a check of all specs and pricing and an explanation of the increased unit cost. After all, your printer is a business partner, not an adversary.
  2. The more additional operations you must do (prepare files in prepress; print the job; fold, trim, and bind the job; etc.), the more money will go into make-ready. If you need die cutting as well, or foil stamping, this make-ready portion of the job will increase even more.
  3. The more steps in the process, the more spoilage will occur (and the more copies will be needed to compensate for this spoilage). Some processes, like perfect binding, may also cause more spoilage than others.
  4. When in doubt, ask your printer to break down your cost by “make-ready” and “cost per run.”
  5. Without printing more copies than you actually need, requesting a higher (vs. lower) print run will reduce the cost per unit of the make-ready portion of the total expense.

Book Printing: Paper for a Client’s Digital Print Book

Monday, April 22nd, 2019

A print brokering client came to me recently with a book project. She wants to print 300 or 500 initial copies of her 432-page, 6” X 9”, perfect bound book (potentially with our without such high production values as French flaps and deckle edges on the text pages). She plans to follow this initial press run with a print on demand contract through one of the online POD (print on demand) vendors.

The Paper Specifications for My Client’s Print Book

My client specifically requested 100# gloss text for the interior of the book. I suggested a 12pt cover (rather than a thinner option of 10pt). I noted that with or without the French flaps (an extended cover folded in on the back and front of the book, making the perfect-bound book appear to have a dust cover), the overall feel of the cover paper would be more substantial at 12pt. I said this heavier cover stock would be consistent with the heft of the text block (at 432 pages, as noted above).

So I sent the specifications to six book printers.

The vendors that offered digital printing all limited the paper choices, and some sent me an email restricting these paper choices to just an uncoated 80# cover stock and 50# or 60# uncoated text stock. Based on my knowledge of commercial printing, I believe the printers did so to keep prices down (fewer paper choices allow print suppliers to buy only a few kinds of paper in bulk, at a lower rate, while avoiding specialty stocks that would require costly minimum purchases).

In addition, based on notations on one of the estimates from one book printer (a reference to inkjet compatibility), it seems that paper choices are limited in some cases to ensure that the printer’s digital printing technology will be effective on the specific paper chosen for the job.

So, to summarize, paper limitations seem to reflect two things: the economy of scale in paper purchasing and the desire to choose paper that readily accepts either toner or inkjet inks.

In spite of these paper limitations, two of the printers agreed to bid the text of the job on coated paper: an 80# gloss text, closer to what my client had specified. This drove up the overall price by just under $1,000.00, even for the short press run (300 or 500 copies). Granted, the text was long at 432 pages, so the paper usage was substantial, but still nowhere near as high as for a 1,000-copy run one printer required to move the book from digital technology to offset printing.

One of the vendors who was willing to include an option for 80# coated text came in with exceptionally attractive pricing. So I asked him if he would produce the text blocks digitally, and then print covers with French flaps on an offset press, and marry the digital texts to the offset covers. He said he could not do this because the two printing plants (one digital, one offset, owned by the same printer) were nowhere near each other geographically.

So, in this case I learned that limits on hybrid book printing (marrying offset and digital printing technology), at least in the case of larger book printers, may be based solely on logistics. Since it’s cheaper to separate a large digital press installation from a large offset installation, marrying the output from each may be impossible (or at least financially imprudent).

To complicate matters, once the printers were already in the process of bidding on the print book, my client offered a description of the text. All text ink would be black, but, in addition, there would only be a handful of photos.

This last specification got me thinking. Why had my client specifically requested 100# coated text for the interior of the book? What was the purpose? So I asked. She thought it made for a classier looking book.

In response, I explained the reasons for selecting coated text paper. I said coated stock was ideal for a 4-color text, because the ink would sit on the surface coating of the press sheet rather than seeping into the paper fibers. Especially for 4-color images in the text, this would be essential. Gloss text is good for making photos “pop” (i.e., to appear as crisp as possible), while dull coated text would be better for printed words and other line art. A dull coating is kinder on the eyes than a gloss coating, minimizing reader eye fatigue.

The long and short of it was that my client agreed to a 60# white opaque text sheet. This will bring down the cost somewhat, and it will be thick enough (when compared to 50# white opaque paper) to minimize show-through of the photos. (This is the unwanted ability to see the photos on one side of a page through the back side of the same page.)

The one thing I should probably add at this point is that I did not immediately contact all of the printers and request adjusted estimates. Instead, I will compare all bids on 80# coated text. Then I will choose a few of the estimates I like (maybe two) and request updated estimates on 60# white opaque text paper. The initial bids on 80# coated text will provide a relative price comparison of all of the vendors. Then, by shifting one or two vendors’ bids to 60#, I can bring the price down a little. Any other approach would create chaos in the printers’ estimating departments.

What We Can Learn from This Case Study

This project is still in flux, but here are a few rules of thumb you can use in your own print buying or design work as you narrow down the specifications for a book project:

  1. Consider an uncoated text sheet for a book that is text-heavy. You will save money, and your readers will probably be equally happy. I personally consider coated text sheets to be more appropriate for full color book interiors or photo-heavy texts.
  2. If your print book has a 4-color interior, or a lot of large photos, consider a coated stock. Ink has better “hold out” on coated paper. That is, the ink sits up on the surface coating rather than seeping into the uncoated paper fibers of an uncoated stock (which dulls down the look of the images). If you choose a coated stock, choose gloss coated paper for a photo-heavy book and dull coated paper for a text-heavy book that still includes some photos.
  3. Consider the weight and opacity of a commercial printing paper. A 60# white opaque press sheet is less transparent (less chance of show-through with photos) than a 50# white opaque sheet, and opaque paper in general is less transparent than offset text paper.
  4. Don’t assume an uncoated paper will always be cheaper than a coated one. I have found some premium uncoated papers that are more expensive than lower quality coated sheets. Be safe. Ask your printer.
  5. Start at 10pt (thickness) for a cover stock. For a weightier paper, choose 12pt. These are usually specified as C1S and C2S. The former means there is coating on one side, while the latter means there is coating on two sides. If you’re only printing on the outside covers, consider a C1S sheet. But if you’re printing on the inside covers, too, make sure you specify a C2S sheet. Otherwise the ink will look different on the inside and outside covers (because ink sits on top of the surface of a coated press sheet but seeps into the fibers of an uncoated press sheet).
  6. Some printers will specify cover stocks in pounds rather than points (80# cover rather than 10pt, for instance). I’d encourage you to stick to 80# and 100# cover stock, but, to be safe, ask for samples. You can even request a paper dummy, which is a bound, blank paper book created at your chosen page count with the text stock and cover stock of your choice. (Your printer can have the paper merchant make one for free.) It helps to get a sense of exactly what the book will feel like in your reader’s hands.
  7. Make all of your decisions based on what you see and feel with your hands (printed samples or paper dummies), because it’s all too easy to make a mistake if you only look at the specifications (paper weight, finish, opacity, coating, caliper or thickness, surface formation, brightness, whiteness, etc.). These specs are useful, but they ignore the fact that reading a print book is a physical, tactile experience.

Book Printing: Paper Prices Can Be a Killer–What to Do

Monday, April 15th, 2019

A book printing client of mine is producing 300 copies of a long print book. At the moment it is 428 pages, 6” x 9”, perfect bound with a 12pt cover and 60# white offset text paper.

Initially my client had asked for 100# gloss coated text stock, so I had the book printer price this paper. However, when I saw that the book was text-heavy with no screens or solids and only ten halftones, I made a suggestion to my client.

Choosing Paper

I said that gloss text stock is better for photo-heavy books. The coating reflects a lot of light directly back into the viewer’s eyes, and even though this makes photos seem crisper and more dramatic, it does tire the eyes. In contrast, a matte or dull coated stock diffuses the light it reflects (sends it back to the reader’s eyes in a more random way).

Photos on dull or matte stock are less dramatic, but the paper coating is easier one the eyes. I noted that the subject of the book (by this time I had seen the text and the cover) was medical in nature and seemed to be directed toward middle aged or older readers. And the eyes of such people (including my own eyes) are less flexible and more prone to tiring. (Remember, once you tire your reader’s eyes, they’re no longer reading your book.)

Moreover, since I noticed that the content of the book was scholarly (i.e., more traditional in content), and since there were only ten photos, I said the book might be fine on an uncoated paper stock. Having champagne tastes, I suggested 60# Finch Opaque. I did this for the following reasons:

  1. 50# stock would be too thin and would make it likely that the reader would see the photos on the back of a page while reading the front of the page. This is called “show-through,” and it can be distracting. Thin paper is less opaque; thicker paper is more opaque. I thought 60# (the standard) would be best since 70# uncoated text stock would make the 428-page book thicker than necessary.
  2. I chose opaque paper to minimize show-through with the photos, just in case.
  3. I chose Finch (followed by Husky, Lynx, and Cougar) because I liked the bright blue-whiteness of these papers. In contrast to lower-quality, dingy-white sheets, the best blue-white sheets (to me) seem more dramatic. They tend to enliven the look of the print book page.
  4. I told my client that the alternative might be a 70# matte coated sheet but that this might have more chance of show-through than the uncoated text stock. The matte coated paper also would make the book look more like a magazine and less like a scholarly textbook (in my own opinion).
  5. In addition, I said the Finch Opaque might cost a little more than the gloss coated or matte coated paper stock. I told my client that sometimes a premium uncoated paper will cost more than a lower-quality coated stock.

Oops: A Dramatic Cost Difference

Boy was I surprised. The revised pricing came back $500.00 more than the initial $2,200.00 bid for 300 print books. Ouch. I told my client, and she was not happy either. Here’s what I learned from the printer:

  1. Even though I thought the price might go up a bit, I had actually chosen a superior paper, which even for 300 books would still incur a surcharge since it was a special order item.
  2. Premium sheets (known as #1 press sheets) are brighter than #2, #3, or #4 stock, and this drives up the price. Presumably, the initial bid from this printer on 100# gloss text stock included a lower quality (i.e., lower brightness) of paper.
  3. An opaque sheet can be pricier than just an offset paper because it has been treated to make it more opaque (less transparent). This is good for minimizing visibility of anything printed on the back of a page when you’re reading the front of the page. However, it costs more.
  4. Specifying a paper by name tends to cost more. If I had asked for a 60# white offset “house” sheet (or even a house opaque sheet), the price increase might not have been so dramatic. A “house sheet” is something a printer buys a lot of, so it tends to cost less (i.e., the pricing reflects the economy of scale).

What You Can Learn From This Case Study

Fortunately, by having the book printer compute a cost for 60# white offset (generic house brand) I brought the price of the overall job back down to the initial $2,200.00 for 300 copies. So the client was happy.

Here are some thoughts I had as I recovered from this pricing shock.

  1. In your own work, specify paper qualities rather than brands, or at least tell the printer you would be open to paper substitutions to keep the price down.
  2. If there are photos, screens, solid ink coverage, or anything else that might be visible through the paper when you’re reading the other side of a page, ask about the opacity of the paper.
  3. Ask about the brightness and whiteness of a particular paper. Brightness is the amount of light it reflects; whiteness is the purity of the light it reflects. That is, you can have a blue-white or yellow-white paper. The blue-white is often called by such names as “bright white” or “solar white.” Yellow-white is often called “cream” or “natural.” Yellow-white paper can make people in photos look jaundiced when compared to the same images on a blue-white stock.
  4. Brightness is expressed in such terms as “premium” or “number 1 sheet,” in contrast to a #2, #3, or #4 groundwood sheet.
  5. That said, choose paper that’s appropriate for the job. A #4 sheet isn’t a bad paper stock. It’s just appropriate for a certain kind of catalog or magazine but not for high-end marketing materials.
  6. Ask about a “house sheet.” If your printer buys a truckload (or a train car load) of a particular paper, and if it’s appropriate for your particular job, why not share in his discount. It will save you money you can later use for a nice premium sheet for your annual report.
  7. Depend on your printer’s experience and knowledge base. Ask lots of questions.
  8. Always request samples. In fact, it helps to see not only blank samples of the paper you’ll be using but also printed samples. This will let you see how photos, text, area screens, and solid blocks of color will look.
  9. Once you have the printed samples, look at them under sunlight, incandescent light, CFL, LED, and/or fluorescent light (or as many of the above as possible). Each kind of light has a different “temperature.” (This is the technical term for its color, as expressed in degrees Kelvin. For instance, 5000 degrees Kelvin is daylight.) And each kind of light will make the color of the paper, and the text and images printed on the paper, look slightly different. (This is because many printing inks are transparent, and therefore the ink color is affected by the paper on which it is printed.) It’s best to know this before you commit to buying paper and printing the job.

Book Printing: Initial Thoughts on POD Book Printing

Monday, April 8th, 2019

I’ve always been somewhat wary of on-demand online book printing because I’m a commercial printing broker. I work with brick-and-mortar custom printing suppliers, and on-demand printers are my competition. (That’s my disclosure for the sake of fairness.) That said, a client of mine came to me this week wanting to find an online vendor that could produce copies of her new 432-page perfect-bound print book as orders came in. But first, she wanted to have me find a brick-and-mortar printer to produce 300 or 500 initial copies of her 6” x 9” print book.

My Client’s Enhanced Book Specs

In my research on printing on demand (POD) in the past, I had found that a number of digital vendors offered limited options for paper weight and coatings. Some even limited the trim size of the books (their length and width) to a handful of standard formats.

These limits did not surprise me. My thought was that the online vendors had limited the number of choices to keep prices down. For instance, if a printer offers only 50# and 60# offset text for the body of a book and 80# cover stock for the perfect-bound cover, he can ostensibly buy these in bulk and keep the cost to the customer low. After all, small quantities of specialty papers cost more. In some cases, printers even must buy a relatively large minimum order of a non-standard paper stock. If a customer doesn’t use all of the paper, either he/she must pay for the unused portion or the printer must do so. So the limits make sense.

In the case of my customer, however, the client wanted the same high production values that my other, brick-and-mortar-printing customers request. (For instance, one of my clients is a husband and wife publishing team. This couple always requests French flaps, luxury matte film laminate, deckle edges on the face trim of the text, and a press score on the print books their small publishing house sells. My current customer wanted the same high production values.)

What I Learned from the Book Printers I Work With

When I approached three book printers I have worked with for the past 30 years, this is what I learned:

  1. Even with the long, 432-page book length, one book printer would have to price the book digitally (not offset) for both 300 and 500 copies. This printer reminded me that their minimum offset printing order is 1,000 copies (no fewer). They could produce the books via digital technology, but, if they took the job, the French flaps and deckle edge would not be available, and the choices for text and cover paper stock would be limited (the basis weight and surface coating).
  2. In addition, unlike the online, on-demand print shops, this brick-and-mortar printer could not do the storage and fulfillment. My client would need to take delivery of the 300 or 500 print books and send them out to clients herself. Then, once the initial press run had been exhausted, she would need to take the new customer orders herself and purchase new short digital press runs as her new clients ordered books. So, basically, this book printer could not match the online, on-demand printing model.
  3. Another book printer could produce the books as I wanted (French flaps and such), but they could not store and fulfill the book orders because my client only had one title (i.e., one master book of which copies could be reprinted and sold). That is, she was too small a client.
  4. Still another book printer made what I thought was an excellent suggestion. Her partner could have his print shop produce the initial print run in the following way. The text of the 300 or 500 books could be produced digitally, since the press run was comparatively short. He could then produce the covers with the French flaps as an offset print job. Then he could marry the offset printed covers and digitally printed text blocks. This would yield a 300- or 500-copy initial press run. It would have all the upper-level production values, and then when the book went on to be a Print on Demand (POD) title, the covers could be produced without French flaps and luxury matte laminate, and the text blocks could be produced digitally on 50# text stock. In other words, the books would be produced in a two-tier manner: one with more bells and whistles, one with fewer bells and whistles.
  5. This same printer had also developed a lasting business relationship with an online, on-demand print vendor. My client and I were both pleased, since this particular printer understood better than either of us the nuances of digital, on-demand printing and could therefore effectively coordinate the whole on-demand printing process.

Thoughts and Questions This Printer Posed to Us

This printer, whom I knew and trusted, included the following items in her list of questions (her items, mine, and my client’s):

  1. Editing/proofreading
  2. Design (cover and text)
  3. Printing
  4. Storage
  5. Fulfillment
  6. Marketing

These are discrete steps along the way. Either the client can do them or the on-demand printer can do them. All of this must be negotiated. Moreover, what the on-demand printer charges (and how much of the cover sale price goes back to the client) is affected by which of these processes are done and by whom.

The printer I spoke with also said that, for on-demand printing, the books could be paperback or hard cover with a printed cover or dust jacket and with very limited text paper options. This is why this printer liked the two-tier approach (one 300- or 500-copy premium press run and then the lower-production-value print-on-demand run).

Based on my client’s further questions, this particular printer addressed such issues as marketing/advertising/promotion, minimum orders, percentage of sales returned to the author (and on what schedule), and extent of reach the on-demand printer can offer (such as global reach, access to so many retail outlets, and so forth).

A Very Specialized Niche

So this is a very specialized niche, albeit a growing one. I found a number of such companies listed online, included IngramSpark (which apparently is related to LightningSource), Zazzle, and Amazon’s CreateSpace. I know very little about any of these, but I would encourage you—if you are thinking of producing an online, on-demand print book, to research all of them.

Also, and most importantly, ask for printed samples. Make sure you will like the final printed product. Look at the photos. Are they crisp, clear, with good detail in the highlights and shadows? Also check the evenness of solid areas of color printing. (If your book is primarily black text on a page rather than 4-color process, you should be fine. However, if your job is more complex and printed in color on coated paper, it is especially important to see samples produced on the same paper that will be used for your book.)

Discuss with the on-demand printer what parts of the process you will handle and what parts of the process the book printer will handle. How will this affect the percentage of the list price that you get to keep?

And above all else, make sure you retain the rights to the book. If you decide to print elsewhere (a future press run, perhaps), do you have the final say and ultimate control? Or have you compromised your publishing rights in any way?

This list of options, processes, and questions is only a starting point. Research on-demand printing yourself online, and try to find other publishers who have self published through online, on-demand printers. They may have suggestions you will find valuable.

Custom Printing: Future Directions for Digital Printing

Tuesday, April 2nd, 2019

I read an interesting article today, sort of a State of the Union address but for digital printing rather than politics.

The article was entitled “10 Important Considerations Print Service Providers Should Think About in 2019.” Written by Barbara A. Pellow, this article was printed online on 02/15/19 on under the heading “Digital Success.”

“10 Important Considerations Print Service Providers Should Think About in 2019” comprises a number of assessments by three luminaries in the printing world: Marco Boer, vice president of IT Strategies at Green Harbor Publications, Jim Hamilton, publisher at Green Harbor Publications, and the author of the article, Barbara Pellow. The venue for this discussion was a Printing Impressions webinar.

(First of all, I have been reading Printing Impressions since I was an art director back in the early 1990s. I consider it a major source of commercial printing industry information. Much of what I now know about custom printing I learned from reading this magazine.)

So when I found this article and saw that it addressed future trends for digital commercial printing, I was excited.

What I Learned

Here are the ten considerations put forth by “10 Important Considerations Print Service Providers Should Think About in 2019” and some of my thoughts in response:

    From Marco Boer

  1. “Skill Acquisition.” This implies the opposite of a tight labor market. Printing professionals are older than the average worker. That is, in all industries, according to Boer, the average age is 42, but in commercial printing the average age is 48. This means these printing professionals are approaching retirement age, when they will leave the workforce. Since commercial printing (whether digital, offset, flexographic, or any other technology) is highly technical, and since successful workers must have a deep understanding of a number of disciplines, it is essential that print service providers seek out individuals with a broad knowledge base. If they don’t, they will be caught short. From the point of view of the workers, this bodes well for job availability. Presumably, jobs are out there for knowledgeable, productive workers. And, yet, Boer also mentions automation. However, given the broad knowledge requirements in the field, I think well-trained individuals will still be in high demand.
  2. “Customer Demands Are Shifting.” Boer notes that it’s not enough to offer the lowest price and highest quality in digital printing. Print service providers who want to thrive must “provide customers with high value add with ultra-efficiency” (“10 Important Considerations Print Service Providers Should Think About in 2019”). As I interpret this statement, providers need to help clients achieve their business goals (strategic and financial) in addition to just putting ink on paper. (This might involve helping clients coordinate marketing collateral with an online presence as well as printed signage for a convention, in order to help the client present a unified brand image across multiple chanels.)
  3. “Look at Page Growth Opportunities.” Boer notes that “Digital print versus conventional print still represents a very small percentage of the overall market. While there has been some traction with digital print in transactional print, direct mail, marketing collateral, books, and specialty wide-format graphics, the movement to customization and micro-runs will drive even greater activity in catalogs, magazines, and all forms of packaging” (“10 Important Considerations Print Service Providers Should Think About in 2019”). To me, it’s very encouraging that digital printing of both periodicals and packaging has room to grow. This bodes well for print service providers and workers, and it implies that magazines and catalogs are not dead.
  4. From Jim Hamilton

  5. “Wide-Format.” Hamilton encourages print service providers to tie large format graphics, such as trade show graphics, into jobs they’re already printing for clients, such as brochures. Helping tie multiple printing products together in a unified campaign is a “value add,” to quote Boer (from #2 above). Hamilton notes that due to the “faster speeds, affordability, and convenience” (“10 Important Considerations Print Service Providers Should Think About in 2019”) of the technology, the time is ripe.
  6. “Digital Packaging.” Hamilton notes that “digital printing is the next frontier for packaging production, and brands and package printers/converters are capitalizing on its efficiency, speed-to-market, and customization/personalization advantages” (“10 Important Considerations Print Service Providers Should Think About in 2019”). What this means is that brands can produce much smaller press runs (no need for the huge carton-printing press runs required to offset print and then laminate liners to corrugated fluting). Smaller press runs can accommodate product runs for small artisan breweries, for instance. They also allow for direct communication with customers, since the digital packaging can be targeted to smaller groups or even individuals. Digital packaging eliminates the need for generic promotion that might be irrelevant (or irritating) to the customer.
  7. “Enhancing Print.” Hamilton addresses finishing in this point of consideration. Print service providers can add value to digital printing (monochrome and color) by including such services as “cutting/trimming, stapling/stitching, folding, binding, foil stamping, diecutting, embossing, laminating, spot and flood gloss” (“10 Important Considerations Print Service Providers Should Think About in 2019”). In addition, Hamilton suggests widening the color gamut from traditional 4-color process ink by adding additional colors and focusing more on short print runs and personalization.
  8. From Barbara Pellow

  9. Pellow reiterates the importance of focusing marketing materials on individuals and not on a generic market, particularly since digital printing makes this cost effective. Moreover, she sees the importance of print service providers’ helping clients tie together a number of marketing channels to make sure the message is consistent, understandable, and relevant to potential customers.
  10. “All Channels On.” Pellow thinks print service providers should “support customers in moving seamlessly across all channels” (“10 Important Considerations Print Service Providers Should Think About in 2019”). In this particular instance, Pellow, I think, is articulating the need to not only bring together print and digital communication, but also to do this in an aesthetically striking and persuasive manner. Repetition reinforces a buying decision. If a customer sees a brand message in a print brochure, and then in an online email advertisement (and if the information is relevant to her/him), there is a greater chance that she/he will respond to the brand message. Helping tie the brand messages together across multiple channels is a useful service printers can offer.
  11. “Print Drives Digital.” Pellow makes it clear that print is not going away. Print and digital enhance one another in promoting sales growth. They are not enemies. In fact, print products are very effective in driving customers to digital media to further the conversation with a brand. Therefore, Pellow notes that providers should “understand how to integrate print with Augmented Reality, QR codes, NFC tags, and social and mobile channels” (“10 Important Considerations Print Service Providers Should Think About in 2019”).
  12. Finally, all three speakers in the webinar agree that improving the quality and efficiency of operations should be an essential, full-time goal of all print service providers. This includes “understanding your cost base [and] getting the workflow right” (“10 Important Considerations Print Service Providers Should Think About in 2019”).

What You Can Learn from This Article

  1. This article is very heartening. It means there are jobs out there for knowledgeable and skilled designers, printers, and pre-press personnel, as well as print sales professionals. The field is growing.
  2. Always focus on improving your skills and knowledge base. This will keep you relevant.
  3. Help clients tie together multiple sales channels in ways that target the end customer directly, providing useful (not generic) information.
  4. Focus not on putting ink on paper but on helping clients with their overall marketing, production, and sales goals.

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